writer to the island in September, 1956, expressly to compare the site with Palestrina. Mrs. Lehmann goes on, “Although many factors, notably the sanctity of a cult spot, were involved in the choice of such sites, their architectural treatment attests a keen awareness of landscape setting as a prime aesthetic ingredient in the total effect.” The unknown architect-genius who planned Palestrina probably knew the Greek Sanctuary at Kos; he was certainly in touch with the main movement of mind of his age. But the final impression of this dynamic, utterly functional, axially symmetric complex is not Greek but Roman, a great memorial façade to celebrate the end of a Civil War. Italy as well as Greece can provide ground-plans by which parts of the Sanctuary at Palestrina might have been inspired, notably one in Cagliari in Sardinia, and another at Gabii, near Rome. [Illustration: FIG. 5.8 Tarracina. Temple of Jupiter Anxur, reconstruction. (F. Fasolo and G. Gullini, _Il Santuario di Fortuna Primigenia_, Pl. 25)] This Roman classical masterpiece has, then, ancestors; what about its descendants? They are many: from the Sanctuary of Fortune contemporary and later architects learned much. An example of this influence is the Temple of Jupiter Anxur at Tarracina, above the Via Appia where it touches the coast sixty-seven miles south of Rome. Here the use of concrete, of _opus incertum_, of arch and vault, of setting and landscape, is in the unmistakable idiom of Sulla’s architect. It is an architectural complex and a seascape which mediates, as Palestrina does, between man and nature. It is designed to capture attention from the colony below, to become more impressive as one approaches, and to give a gradually widening view of the sea as one ascends. The temple was oriented north and south, with a portico behind (Fig. 5.8). It is set at an angle upon a tremendous concrete podium, with arched cryptoporticus as at Palestrina. On the seaward side the play of light and shadow on the podium arches is enormously impressive; on the side toward Sperlonga the sturdy blind buttress arches are again strongly reminiscent of what we have seen on the Terrace of the Half-columns. Within the cryptoporticus (the vaults under the Temple platform) the play of light and shadow is again very satisfying, and yet the structure is functional as well: the cryptoporticus lightens the huge weight of the concrete, and the sturdy concrete construction has stood the test of time.